About this font family

The difference between Pro and Std styles is the quantity of glyphs. Therefore, Pro styles include all the decorative alternates and ligatures while Std styles are a reduced version of Pro ones. More…

Big and Small styles were thought for better printing results. While Big is recommended to be printed in big sizes, Small may be printed in tiny sizes and will still show its hairlines well.

INTRODUCTION

I have always wondered if the circle could ever be considered as an imperfect shape. Thousands of years have passed and we still consider circles as synonyms of infinite beauty. Some believe that there is something intrinsically “divine” that could be found in them. The woman, that lovely being, is the best example: Sensuality today demands perfectly shaped strong curves, exuberant forms and a big contrast of thicks and thins... oh wait! Am I talking about women or typography? What if these two are combined?

THE PROCESS

This story begins one fine day of March in 2012. I was looking for something new. Something which would express the deep love I feel regarding calligraphy in a new way.

At that time, I was practicing a lot of roundhand, testing and feeling different kinds of nibs; hearing the sometimes sharp, sometimes soft, sound of them sliding on the paper.

This kind of calligraphy has some really strict rules: An even pattern of repetition is required, so you have to be absolutely aware of the pressure of the flexible pen; and of the distance between characters. Also, learning copperplate can be really useful to understand about proportion in letters and how a minimum change of it can drastically affect the look of the word and text.

Many times I would forget about type-design and I would let myself go(1): Nothing like making the pen dance when adding some accolades above and below the written word.

Once something is mastered, you are able to break some rules. At least, that’s my philosophy. (2)

After some research, I found that the world was in need of a really sexy yet formal copperplate. (3)

I started Erotica with the idea of taking some rules of this style to the extreme.

Some characters were drawn with a pencil first because what I had in mind was impossible to be made with a pen. (4)

Finding a graceful way to combine really thick thicks with really thin hairlines with satisfactory results demanded months of tough work: The embryo of Erotica was a lot more bolder than now and had a shorter x-height. Changing proportions of Erotica was crucial for its final look. The taller it became the sexier it looked. Like women again?

The result is a font filled with tons of alternates which can make the user think he/she is the actual designer of the word/phrase due to the huge amount of possibilities when choosing glyphs.

To make Erotica work well in small sizes too, I designed Erotica Small which can be printed in tiny sizes without any problems.

For a more elegant purpose, I designed Erotica Inline, with exactly the same features you can find in the other styles.

After finishing these styles, I needed a partner for Erotica. Inspired again in some old calligraphic books I found that Bickham used to accompany his wonderful scripts with some ornated roman caps. Erotica Capitals follows the essentials of those capitals and can be used with or without its alternates to accompany Erotica.

In 2013, Erotica received a Certificate of Excellence in Type Design in the 59th TDC Type Directors Club Typeface Design Competition.

Meet Erotica, beauty and elegance guaranteed.

Notes

(1) It is supossed that I'm a typographer rather than a calligrapher, but the truth is that I'm in the middle. Being a graphic designer makes me a little stubborn sometimes. But, I found that the more you don't think of type rules, the more graceful and lively pieces of calligraphy can be done.

(2) “Know the forms well before you attempt to make them” used to say E. A. Lupfer, a master of this kind of script a century ago. And I would add “And once you know them, it’s time to fly...”

(3) Some script fonts by my compatriots Sabrina Lopez, Ramiro Espinoza and Alejandro Paul deserve a mention here because of their undeniable beauty. The fact that many great copperplate fonts come from Argentina makes me feel really proud. Take a look at: Parfumerie, Medusa, Burgues, Poem and Bellisima.

(4) Some calligraphers, graphic and type designer experimented in this field in the mid-to-late 20th century and made a really playful style out of it: Letters show a lot of personality and sometimes they seem drawn rather than written. I want to express my sincere admiration to the fantastic Herb Lubalin, and his friends Tony DiSpigna, Tom Carnase, and of course my fellow countryman Ricardo Rousselot. All of them, amazing.